Archives for posts with tag: Jewish World Imperium

Dawn_of_the_Planet_of_the_Apes

Here is a worthy addition to the venerable Apes franchise. Like the original Heston classic, Dawn of the Planet of the Apes is by turns poignant, thought-provoking, and unintentionally humorous in telling the tragic story of what befalls humanity in the wake of its decimation by a simian flu and the resulting collapse of civilization.

What little remains of Bay Area humanity lives together in downtown San Francisco, led by capable ex-soldier Dreyfus (Gary Oldman). The civilizationally ascendant apes, led by intelligent chimpanzee Caesar (Andy Serkis), inhabit the forest surrounding the city, unaware that humans have survived the plague.

When a chance encounter and death bring the two mutually resentful species into conflict, members of both groups believe their continued existence is at risk. At stake in this exciting installment of the franchise is whether peace is possible or full-scale war between the two tribes is an inevitability.

4.5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that the symbolism or subtextual resonance of the ape/human relationship in Dawn is variable, changing in meaning from scene to scene, so that a single comprehensive interpretation is impossible. Anecdotal analysis follows, however, yielding the following diagnoses:

4. Multiculturalist. All races live together in harmony in progressive post-collapse San Francisco. The diverse makeup of the human element, including blacks, softens the association that racially insensitive viewers are likely to draw between apes and blacks. That parallel is exploited, however (see no. 3), and the abstract sense that the apes are akin to the teeming anthropoid scatology constituting the world outside the West – and, increasingly, the West itself – is also unavoidable. (cf. no. 1)

3. Anti-gun. With the planet essentially set back to zero, the original sin that disrupts this new potential Eden is not the eating of fruit, but the bearing of arms. Carver (Kirk Acevedo), a character who bears a suspicious resemblance to George Zimmerman and who, given his Anglo name, is presumably supposed to be some kind of “white Hispanic”, sets the plot in motion when he panics and shoots a (no doubt angelic) chimp in the forest. Apes, at first hopeful of peaceful relations, confiscate and destroy a few of the humans’ guns. Carver later disobeys Caesar’s terms of cooperation by sneaking a gun into ape territory, putting a baby chimp in danger and alerting emotionally susceptible moviegoers that the guns in their homes are a multitude of dead baby tragedies waiting to happen.

2. Green. It is man’s energy dependency which brings him into conflict – in this case, with apes – when Dreyfus determines to get a power plant operating again. No alternative energy is available, viewers are told, the implication being that, had America’s government, in its wisdom, been allowed to invest more of its tax booty in clean, green energy alternatives, the humans’ post-apocalyptic plight might have been avoided.

1. Crypto-Zionist. The misleading notion that the American energy appetite – lust for oil, for instance – is responsible for drawing the country into its conflicts abroad only serves to distract from the reality that it is the Israel lobby, not hootin’, hollerin’ Texas oil barons, who have exercised a Svengali-like influence on American foreign policy in recent decades.

More interestingly, the climactic sequence of Dawn of the Planet of the Apes invites an interpretation according to which the humans, led by Dreyfus, are Jews, and the apes are the primitive gentile hordes. As this interpretation would have it, the climax of the movie presents a kind of encrypted dialogue between two competing Zionisms. Some explanation may be necessary for the uninitiated in matters Judaic as to why goyim might be cast as apes. What too few gentiles understand is that Talmud-taught Jews hold non-Jews to be subhuman, their word for a gentile woman, shiksa, meaning an “unclean animal”. The Yiddish slur goyim, furthermore, is used synonymously with “cattle“.

The name of the human leader, Dreyfus, calls to mind the notorious Dreyfus Affair, which, as Jewish history would have it, constitutes one of the most rabid episodes of anti-Semitism in the history of Christendom (practically the entire history of Christianity being a mere buildup to the “Holocaust” if Jewish historian Raul Hilberg is to be believed). The name Dreyfus, then, suggests a Zionist martyr, as do his words and actions in this momentous sequence.

Toward the end of the film, the simian army has taken control of San Francisco, with bloodthirsty ape usurper Koba* (Toby Kebbell) and his followers occupying a downtown tower as headquarters. Dreyfus and his fellow human-Jews, unknown to the ape-gentiles, have planted explosive charges under the tower – a tactic clearly reminiscent of the Israeli Mossad‘s controlled demolition of the Twin Towers on 9/11.

Dreyfus, defending his decision to eradicate the ape-gentiles when fellow human Malcolm (Jason Clarke) expresses his horror and his hope that ape/human reconciliation is still possible, explains that he is detonating the tower in order to save the human race (i.e., Jews). His position, in other words, is that every ape-gentile must die so that Jew-humans might survive. He then proceeds to explode the tower, himself along with it, considering his act of mass murder a selfless martyrdom. The actual result of his action, however, is that full-scale conflict between ape-gentiles and Jew-humans is now a permanent feature of their inextricable histories. Ape-gentiles will always be hostile and on the defensive from now on because the vindictive Jew-humans can “never forget”.

The Jewish screenwriters of Dawn of the Planet of the Apes appear to intend for their film to function both as a symbolic cover-up for the Jews in subliminally excusing them from principal responsibility for America’s wars of intervention – and, for the tuned-in members of the audience, as a warning to the hardcore terrorist Zionist establishment represented by such figures as Adelson, Netanyahu, Silverstein, Chertoff, Zelikow, Kissinger, Zakheim, Krauthammer, Kristol, Perle, and the rest of the Talmudic rats responsible for the Jew World Order under which gentiles are currently dying and suffering unnecessarily. Push too hard, they caution, and you might just give away the game.

*”Koba”, whether coincidentally or not, was the nickname of supposedly anti-Semitic Joseph Stalin (responsible for the “black years” of Soviet Jewry).

 

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Lone_Survivor_poster

Zio-harpy Debbie Schlussel, who has charged that Hollywood Jews are moldering in a “pan-Islamic slumber“, and badgered Jason Alexander about what she alleged were his Islamo-Nazi terrorist connections, was understandably irate with director Peter Berg when he made The Kingdom (2007), a film which, while reinforcing aspects of the War on Terror, made an effort to humanize the typical Saudi citizen.

Half-Jewish Berg, perhaps stung by this questioning of his Zionist bona fides, went on to direct Battleship (2012), an unabashed advertisement for American military recruitment on behalf of the Jew World Order. So as to be absolutely clear as to where he stands geopolitically, Berg even gave an interview to an Israeli journalist to promote Battleship, during which he referred to the possibility of an Iran with nuclear weapons as the most pressing crisis presently facing the planet and called his interviewer a draft dodger for not joining the IDF.

Berg’s most recent contribution to post-9/11 cinema is Lone Survivor, an Afghanistan war horror hailed by Fox News as “a great service to this nation” in its celebration of the goy cannon fodder who put their lives on the line to, as Berg words it, “protect you, to protect me” against “legitimate evil”. The “evil” in the film is jihadist Ahmad Shah (Yousuf Azami), whom Lone Survivor explicitly dubs the “bad guy” for the benefit of the cognitively impaired in the audience. Operation Red Wings deploys Marcus Luttrell (Mark Wahlberg) and his crack team of hardcore Navy SEALs to assassinate Shah, coddle the still-toddling Afghan “democracy”, and so secure the CIA’s investment in Afghanistan’s booming opium crop – though Lone Survivor, naturally, neglects to mention this last point.

Horribly boring exposition introduces viewers to a group of indistinguishable, unshaven, and dull-eyed muscleheads who lounge around and act like boastful frat boys between forays behind enemy lines. Israel’s errand boys, unfortunately, get into a kosher pickle when sent to execute Operation Red Wings. Shah’s Taliban army learns of the SEALs’ location, and when their Raytheon-enriching communications equipment goes on the blink, Marcus and crew are outnumbered and stranded, pinned to a hellish position on the side of a goat-infested mountain.

From this point on, Lone Survivor is almost entirely action, most of it unimaginatively realized, with shaky cam, speed-up/slow-down gimmickry, and first-person shooter POV shots with zombie-like Muslims in the cross-hairs. The characters are unlikable, their “fuck”-sprinkled dialogue doing little to humanize them, and their mission is frankly an unsupportable tyranny, so that one almost longs for the Taliban to win and kill off the American invaders. The film becomes more engrossing once Luttrell is left the last man of his team to continue to make his way to safety, as at this point Lone Survivor shifts from being a war adventure to a more archetypal struggle of one man to survive against hostile odds.

3 out of 5 possible stars. ICA’s advice: watch Rescue Dawn (2006) instead.

Rescue_Dawn_poster

Ideological Content Analysis indicates that Lone Survivor is:

8. Pseudo-Christian. Navy SEAL Mike (Battleship‘s Taylor Kitsch) wears a cross tattoo on one of the arms he uses to kill on command.

7. Pro-miscegenation. End credits feature footage of a white soldier kissing his Asian bride.

6. Cronyist, putting in a good word for more military-industrial pork. “Limited resources, chief. There ain’t enough Apaches.”

5. Pro-drug. Several beers are mentioned as code names for nodes in Operation Red Wings. See, too, remark on opium above. Keep those cattle sappy and happy.

4. Anti-Muslim. Decapitation-happy “Tally” and mascara-wearing “bad guy” Ahmad Shah represents the Muslim menace ably.

3. Pro-military. An opening credits montage of Navy SEALs being trained, which is to say, tortured, to become thoughtless murder machines, essentially serves as a J.W.O. mercenary recruitment commercial. As with Berg’s toy-to-movie adaptation Battleship, the writer-director delights in the idea of plastic American soldiers for Jews to hold under their magnifying lens, watching them melt under foreign suns. A wimpy cover of David Bowie’s song “Heroes” stinks up the end credits photo montage of the men portrayed in the film.

2. Imperialist. The Taliban is a threat to world security, Lone Survivor would have viewers believe, because it promotes fundamentalist Islam, chops off a few heads, and forces its women not to dress like whores. The truth, however, is that many of these are just men trying to keep their country from going the way of the Jewnited States of Slum-merica, with whiny minorities running the show, social engineers and feminist riffraff ripping families apart, and Marxists undermining the cultural pillars supporting traditional ways of life. The neoconservative program, however, calls for Afghanistan to embrace diversity, drugs, pornography, sex reassignment surgery, Sarah Silverman, managerial government, and the drone-patrolled surveillance state – in short, Jewish World Imperium.

1. Zionist/anti-human. Disturbingly, Berg acknowledges that the strength of the book on which Lone Survivor is based is its divorcing of the Afghanistan war from politics, and its celebration of the alleged heroism of the band-of-brothers mentality that sustains its combatants. Lone Survivor, in other words, promotes the utmost nihilism, proposing that viewers should not concern themselves so much with why Taliban fighters must be killed, or why Afghanistan continues to be occupied, but rather with the relentless, Israel-licking devotion with which goy cattle “heroes” commit the mass murder. “You are never out of the fight,” Luttrell says at the end of the film, instilling in the audience the suggestion that America’s crusade against the evildoers, wherever they may dwell, will continue indefinitely.

 

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